BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION:

Odon Wagner Contemporary is pleased to present TRANSFIGURED: The High Bright Night of Bruno Kurz\, our second solo exhibition of recent works by German contemporary artist Bruno Kurz. \;

\n

Opening Rec eption with artist: Thursday\, October 2\, 6-9 pm \;

\n

To RSVP to Reception: 416 \;962 \;0438 or caitlin@odonwagnergallery.com \ ;

\n

Bruno Kurz body of work is characterized by expressive paintwork in which cracked surfaces\, layers of colour and trases of pastose serve as contrast to a metallic background. Horizontal layers provide the colours a clear compositional order. \;

\n

The \;remarkable body of wor k\, in its harmonious entirety\, is the opposite of the hyper-speeds of tec hnology and celebrates a perceptual slowness at the heart of all true seein g. This is still a special kind of ancient and arcane technics\, one focuse d organically and exclusively on sight and seeing. In almost every single p ainting the actual subject and theme is the transmission of light and its i mpact emotionally on the viewer. Actuality shines through.

\n

Dependin g on the incidence of light and position of the viewer\, the paintings may be perceived in a variety of ways. The multiple viewpoints offered by the w orks are the hallmark of their vitality. \; \;

\n

Born in 1957 in Langenargen\, Lake of Constance. He currently lives and works in Karlsr uhe\, Germany.  \;Kurz spent many years of studying art abroad in Egypt \, Mexico Asia and India. In 1984 he began his teaching career with Foundat ion of ART work\, courses for adults. Since 1987 he has given various lectu res including at the College of Education (Ka)\, Staatliche Kunsthalle Karl sruhe\, the National Academy Schloss Rotenfels\, and the European Art Acade my in Trier.

DTEND:20141002 DTSTAMP:20140923T163542 DTSTART:20141002 GEO:43.6748795;-79.3958349 LOCATION:Odon Wagner Contemporary\,198 Davenport Road \nToronto \, ON M5R 1 J2 SEQUENCE:0 SUMMARY:TRANSFIGURED: The High Bright Night of Bruno Kurz\, Bruno Kurz UID:357858 END:VEVENT BEGIN:VEVENT DTEND:20141002T210000 DTSTAMP:20140923T163542 DTSTART:20141002T180000 GEO:43.6748795;-79.3958349 LOCATION:Odon Wagner Contemporary\,198 Davenport Road \nToronto \, ON M5R 1 J2 SEQUENCE:0 SUMMARY:TRANSFIGURED: The High Bright Night of Bruno Kurz\, Bruno Kurz UID:357860 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141102 DTSTAMP:20140923T163542 DTSTART:20141009 GEO:43.6625314;-79.3338303 LOCATION:Parts Gallery\,1150 Queen Street East \nToronto\, Ontario M4M 1K8 SEQUENCE:0 SUMMARY:Solo Exhibition\, bradley wood UID:357670 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For more than 12\,000 years\, the Great Lakes region has produced a distinct culture of Anishinaabe artis ts and storytellers. The Art Gallery of Ontario (AGO) celebrates those arti sts and stories this summer with \;Before and after the Hor izon: Anishinaabe Artists of the Great Lakes\, featuring artw orks by leading modern and contemporary artists -- including Norval Morriss eau\, Bonnie Devine\, Robert Houle\, Keesic Douglas\, Michael Belmore\, Dap hne Odjig and others -- who sought to visually express the spiritual and so cial dimensions of human relations with the earth.

\n

The traditional home of the Anishinaabe peoples -- comprised of \;Algonquin\, Mississauga\, Nippissing\, Ojibwe (Chippewa)\, Odawa (Ottawa)\, Potawatomi \;and \;Saulteaux nat ions \;-- the region includes Ontario\, Manitoba and Quebec in addition to eight U.S. states and has inspired generations of stories and experiences that are spiritual\, political and challenge certain accepted a ccounts of history. These same sources of inspiration are visible in tradit ional Anishinaabe arts included in the exhibition\, including clan pictogra phs on treaty documents\, bags embroidered with porcupine quill\, painted d rums and carved pipes\, spoons and bowls.

\n

Before and after the Horizon \;is co-org anized by the AGO and the National Museum of the American Indian. It is cur ated by David Penney (NMAI) and Gerald McMaster (Plains Cree/Sisika First N ation). To celebrate this important exhibition\, Andrew Hunter\, the AGO's Fredrik S. Eaton Curator\, Canadian Art\,has organized a series of compleme ntary interventions and installations to extend the dialogue into the AGO's own collection of Canadian art.

\n

&ldq uo\;This is a powerful exhibition that is very much about this place and it s timeless connection to a distinct world view\, one that continues to reso nate with Anishinaabe\,&rdquo\; said Hunter. &ldquo\;The AGO is situated in the very heart of traditional Anishinaabe territory\, and we are honoured to position this exhibition as a catalyst for reimaging our sense of place and community\, and to feature the ground-breaking work of a significant gr oup of artists who have lived and work in this area.&rdquo\;

\n

Bonnie Devine\, a noted Objibwe artist and educator \, will work with Hunter to transform one of the permanent collection galle ries while Robert Houle (Saulteaux) will present a new installation entitle d \;Seven Grandfathers \;in the AGO's Walker Court.

\n< p style="text-align: justify\;">&ldquo\;This exhibition is a welcome opport unity to reconsider\, through various political and aesthetic interventions by Anishinaabe artists\, how Canadian art history has been traditionally p resented at the AGO\,&rdquo\; said Devine. &ldquo\;The Anishinaabe have con tinuously occupied the territory around the Great Lakes for at least 12\,00 0 years\, so a survey exhibition of contemporary Anishinaabe art is overdue .&rdquo\;

\n

 \;

DTEND:20141125 DTSTAMP:20140923T163542 DTSTART:20140726 GEO:43.6536766;-79.3923394 LOCATION:Art Gallery of Ontario\,317 Dundas Street \nWest Toronto\, Ontario M5T 1G4 SEQUENCE:0 SUMMARY:Before and after the Horizon: Anishinaabe Artists of the Great Lake s\, Norval Morrisseau\, Bonnie Devine\, Robert Houle\, Keesic Douglas\, Mic hael Belmore\, Daphne Odjig UID:357516 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Manasie Akpaliapik was born in 1955 in a hunting camp near Ikpiarjuk (Arctic Bay)\, Nunavut\, on north Ba ffin Island. He spent his youth in Arctic Bay\, relocated to Montreal\, the n settled in Toronto where he created all of these carvings. Now based in O ttawa and Montreal\, Manasie is known for his animated and ambitious sculpt ures that sympathetically utilize the unique material and structure of bone \, ivory and stone. Deeply connected to the culture and traditions of the A rctic\, his works reflect a concern for the vulnerability of his homeland. They offer unflinching depictions of social ills that have impacted norther n communities and reflect the belief that humans must live in balance with and respect all living things.

DTEND:20150614 DTSTAMP:20140923T163542 DTSTART:20140614 GEO:43.6536766;-79.3923394 LOCATION:Art Gallery of Ontario\,317 Dundas Street \nWest Toronto\, Ontario M5T 1G4 SEQUENCE:0 SUMMARY:Solo Exhibition\, Manasie Akpaliapik UID:357515 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The four international finalis ts for the 2014 Aimia | AGO Photography Prize are David Hartt\, Elad Lassry \, Nandipha Mntambo and Lisa Oppenheim. The artists all engage with broad h istorical and cultural forces\, such as colonialism\, urban planning\, adve rtising\, and war. They each approach the history of image-making in distin ct ways\, using photographs\, video\, film and even sculptural elements to reconsider how we visualize the world. The environments they create and the materials they deploy express diverse and thoughtful ideas about the ways we process our past and present experiences through images.

\n

Vote for your choice to win the $50\,000 prize until October 27 at 11:59 pm. The winner will be announced at the Art Gallery of Ontario on October 29.

DTEND:20150104 DTSTAMP:20140923T163542 DTSTART:20140903 GEO:43.6536766;-79.3923394 LOCATION:Art Gallery of Ontario\,317 Dundas Street \nWest Toronto\, Ontario M5T 1G4 SEQUENCE:0 SUMMARY:AIMIA | AGO Photography Prize 2014 Exhibition\, David Hartt\, Elad Lassry\, Nandipha Mntambo\, Lisa Oppenheim UID:357514 END:VEVENT BEGIN:VEVENT DESCRIPTION:

\n

Scott Lyall

\n

opening on Thursda y\, 16 October from 7 to 9 p.m.\, the gallery is pleased to presen t an exhibition by Scott Lyall.

\n

For his fifth exhibition at the Sus an Hobbs Gallery\, Scott Lyall will present print-works on painted linen an d glass. All of the works were made within the technical possibilities of w ide format UV-printing using digital colour profiles. Each involves techniq ues of color compression and sublimation\, but then adapts the imprinted co lors to very different kinds of effects. These shifting spaces of colour an d fully abstracted special effects extend the range of Lyall&rsquo\;s refle ction on digital colour and print technology into a space of historical dif ference between painting and photography.

\n

Scott Lyall was born in T oronto in 1964\, and works in both New York and Toronto.  \;He has exhi bited his work widely in the United States and Canada\, most recently at PS 122 (New York)\, The SculptureCenter (New York)\, Contemporary Art Gallery (Vancouver)\, SITE Santa Fe (Santa Fe\, New Mexico)\, The Power Plant (Toro nto)\, and Le Confort Moderne (Poitiers\, France).

\n

Susan Hobbs Gall ery is open to the public Wednesday to Saturday from 11:00 a.m. to 5:00 p.m . and by appointment. \; The gallery is located at 137 Tecumseth Street \, Toronto.

\n

For more information about this exhibition or the Susan Hobbs Gallery\, please give us a call at (416) 504.3699 or visit www.susanhobbs.com.

DTEND:20141122 DTSTAMP:20140923T163542 DTSTART:20141016 GEO:43.6456151;-79.4060767 LOCATION:Susan Hobbs Gallery\,137 Tecumseth Street \nToronto\, Ontario M6J 2H2 SEQUENCE:0 SUMMARY:Scott Lyall\, Scott Lyall UID:357005 END:VEVENT BEGIN:VEVENT DTEND:20141016T210000 DTSTAMP:20140923T163542 DTSTART:20141016T190000 GEO:43.6456151;-79.4060767 LOCATION:Susan Hobbs Gallery\,137 Tecumseth Street \nToronto\, Ontario M6J 2H2 SEQUENCE:0 SUMMARY:Scott Lyall\, Scott Lyall UID:357006 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The works\, by exceptional art ists\, are ANSWERS which respond to the questions:

\n

>\; Did you immigrate to Canada\, or are you the descendant of immigrants? \;
>\; Are you in awe of the massive annual migr ations of whales\, geese\, toads\, dragonflies\, owls\, ospreys\,
duck s\, hawks\, butterflies\, hummingbirds\, bats and - in the Canadian north - colossal animals? (October\,

\n

RIGHT N OW\, is the big migration month! I saw migrating red tailed-hawks yesterday .)

\n

>\; Does the idea of &ldquo\;mig ration&rdquo\; feel like a metaphor or symbol for something very meaningful to you?

\n

Visitors are invited to ENGA GE with this provocative notion of Migration and the artists&rsquo\; though tful\, remarkable work. Visitors may also PARTICIPATE in expressing their p ersonal experience of their own family migration. They will participate by mapping - on a wall size map of the world - the journey they or their famil y have taken from country\, to country\, to - finally - Canada and Toronto. This will provide an exciting mutual discovery of our origins...how we now hook up with each other...right here in Propeller Gallery! A unique opport unity for friends and families to share.

\n

The philosopher\, Alain de Botton\, in his current exhibition at the AG O\, speaks about how art can address issues that engage us all\; how art ca n help us to understand ourselves and to lead richer lives.

\n

MIGRATION\, speaking to our common experience\, will help us find solidarity with the immigration experience of others.

DTEND:20141005 DTSTAMP:20140923T163542 DTSTART:20140924 GEO:43.6446171;-79.4168107 LOCATION:Propeller Centre for the Visual Arts\,948 Queen Street West \nToro nto\, ON M6J 1H1 SEQUENCE:0 SUMMARY:Migration: A Nuit Blanche Exhibition UID:356985 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Loch Gallery is proud to p resent a selection of paintings from John all's \;Candela \;and \;Flash \;series. These most recent works reflect th e complexity of contemporary global life. Join us on Saturday\, September 2 7th from 2-4pm for the opening reception.

\n

John Hall was born in 1943 in Edmonton\, Alberta. He did his training in art at the Alberta College of Art\, Calgary and the Instituto Allende\, Mexico in the 1960s. Since completing his studies in 1966\, he has lived an d worked in Calgary\, Alberta\; Delaware\, Ohio\; New York\, New York\; San Miguel de Allende\, Mexico and\, most recently\, Kelowna\, British Columbi a. Hall has held teaching positions in art at Ohio Wesleyan University\, th e Alberta College of Art and Design\, the University of Calgary\, where he retired from a full professorship in painting and drawing\, and the Okanaga n University College. Currently he holds a professorship emeritus at the Un iversity of Calgary. He now lives and works in Kelowna\, British Columbia.< /p> DTEND:20141008 DTSTAMP:20140923T163542 DTSTART:20140927 GEO:43.6713217;-79.3933849 LOCATION:Loch Gallery - Toronto\,16 Hazelton Avenue \nToronto\, Ontario M5R 2E2 SEQUENCE:0 SUMMARY:Paintings from the "Flash" and "Candela" Series\, John Hall UID:356983 END:VEVENT BEGIN:VEVENT DTEND:20140927T160000 DTSTAMP:20140923T163542 DTSTART:20140927T140000 GEO:43.6713217;-79.3933849 LOCATION:Loch Gallery - Toronto\,16 Hazelton Avenue \nToronto\, Ontario M5R 2E2 SEQUENCE:0 SUMMARY:Paintings from the "Flash" and "Candela" Series\, John Hall UID:356984 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The callow seeming title of th is\, Kim Dorland&rsquo\;s eighth solo exhibition with Angell Gallery\, is a bluff. In his Toronto studio in August\, Kim told me that he likes both po etry and TV. Its false braggadocio rings with second-wave nostalgia for the receding prior nostalgia of an early incarnation of the artist who habitua lly slipped into the indications of a former adolescent cockiness. Today he nestles the intimate\, ephemeral now-ness of time as he watches his childr en and family (and self) live through instances that occur and vanish in a flicker.

Yet\, while the title is not literally true\, it is oth erwise apropos. Dorland chooses not to paint with poetic embroidery or teme rity. His imagery is prosaically undisguised\; his vocabulary reflexively a utomatic\, journalistic\, matter-of-fact\; his palette ALLCAPS attention-gr abbing\, vivid\, even lurid\; and his mark making emphatic with punctuation as much as description. That punctuation inflects&hellip\;no\, directs the amassments of colour on his canvases and it crucially articulates the stor ies that emerge from his pictures. Dorland&rsquo\;s claimed affinity to tel evision speaks to the day-by-day mesmerisation of far and near exotica (and the commonplace) denatured and re-naturalized by the keyed-up glow of the household screen.

Home plays a bit role in these latest painting s\, all from 2014\, insofar as it is only one of many settings for family l ife\, its events\, activities and passages. Because\, it seems\, the artist &rsquo\;s observations of his family might occur anywhere or anytime. His p rofoundly immersive\, psychic recognition of the simultaneous presence\, di fference and absence of those closest to heart powerfully relocates and env elopes the benchmark portraits of his self-possession (versus their self-po ssession) in an array of locations. So\, even when he is away from home\, i t feels local and proximate to a specific moment. An image snatched during an evening run\, High Park\, connotes what Dorland acknowledges as &ldquo\; a melancholic year [as an artist] that doesn&rsquo\;t reflect [his] point o f view with respect to his family or his responsibilities&rdquo\;&mdash\;a not uncommon refrain from a forty-year-old man.

Digital photogra phy is an essential tool and reference for Dorland&rsquo\;s ongoing image a rchive of daily life passing into the subjects for his paintings. It natura lly fits such a prolific and prodigiously gifted artist. Pictorial prowess and facility such as Dorland&rsquo\;s allows for the gradual\, uncontrived seeping of meaning into one&rsquo\;s work. For all its outrageous stylizati ons and exaggerations of colour and form\, Dorland&rsquo\;s paintings remai n essentially objective. Therefore he does not prefigure or predestine his attitude to their content. By constant return to themes and real views\, no t only does he gauge the changes of his subjects\, but also notices his var iances in perceptive and emotional state. Sometimes key incidents shimmer i n through placid and routine surroundings\, such as a hazy and distant poli ce car parked in the centre of the aforementioned High Park. Similarly\, th e efflorescent sparkle and fuming of Fireworks almost completely occlude a pair of humble witnesses meekly standing against the back fence of the conc rete yard\, Dorland&rsquo\;s sons\, Seymour\, eight\, and Thomson\, five.
The compositional reference to cell phone images gains consonant ordinariness in that such devices are ubiquitous\, possessed by his subject s too. His wife\, Lori\, is plausibly aglow as she looks to her screen in t he winter evening of After the Party. Crystalline flares and a voltaic unde rpainting refer to how Dorland recorded the scene. In Bleeding Heart\, the small screen isolates and rebalances the image\, deepening and thickening a garden around Seymour into jungle\, where he sits oblivious to its ominous foliage\, inspecting a blossom gently with his fingertips\, not absorbed i n a video game as it might initially appear.

March Break and Don &rsquo\;t Give Up are two of Dorland&rsquo\;s most effectively pared-down p aintings\, each with an abstracted\, horizontal banding that yields classic \, stacked\, rectangular order. The elegant simplicity of each is a feat of artistic restraint\, nerve and hard-won experience. In March Break\, Seymo ur stretches upward in preparation for a dive into a pool\, with concentrat ion\, determination\, perhaps some trepidation. His taut body and arms are mimicked above by the upright trunks and limbs of bare trees\, and contrast ed by an unbelievably limber and confident graffiti tag on the grey wall be hind. His face\, as is standard for Dorland&rsquo\;s figurative treatments\ , is a slathered impasto of relief-map planes in oil paint which still conv eys a specific portraiture. This technique conveys the vertical musculature of his son&rsquo\;s body and also the horizontal surface plane and conceal ed depth of the water\, of which the human body is largely composed. Don&rs quo\;t Give Up\, by contrast\, is utterly unpopulated. It depicts the fence d-in tennis courts found in Toronto&rsquo\;s Trinity Bellwoods Park. The ch ain-link has been meticulously stenciled and sprayed\, an extruded screen t hrough which appear side-by-side court lines\, posts and nets\, at once sub stance and mirage. The foreground is a clover-pocked lawn. Above the fence line\, an orange sky churns with latent energy. A bedraggled message\, wove n into the fence links with ribbon\, is the tattered remnant of youthful sp ontaneity\, long since departed. Each painting renders depth ambiguously\, treated in distinct zones of colour and technique that are monolithic and g radated at the same time\, conjuring the mists or mystery of the imminent f uture.

The crowning painting of a glorious show is a portrait of his muse and most frequent subject\, Lori. She poses in Bay Blanket #3\, a s so often\, in the nude\, however wrapped in a recognizable wool blanket o f the Hudson&rsquo\;s Bay Company that she clasps to her breasts and resple ndently spreads down her kneeling figure and across the top of the couple&r squo\;s bed. The painterly treatment of the blanket makes a transition from the thickly-painted flesh and defacement into impasto folds of heavy cloth \, especially so around Lori&rsquo\;s torso and gently easing out to reveal some of the textile weave of the canvas on which the paint is brushed\, wi th the signature green/red/yellow/black stripes running up and down or forw ard and back according to the blanket&rsquo\;s crumpled tumble. The bed is strewn with other rustic red/black patterns of quilting and tossed red pill ows beneath her. On the wall behind Lori is a galaxy of framed family photo graphs\, hung with a celebratory disregard for regulated order. Dorland ren ders each of these photos\, so similar to\, perhaps identical with\, the so urces for so many of his paintings\, with tender attention to its individua l distinction\, its specific reference and instance in the artist&rsquo\;s life. He can&rsquo\;t help himself. He strives to keep up with evanescent l ife by constantly resetting and starting over.

Ben Portis
S eptember 2014


Artist&rsquo\;s biography

I Hate Poetry\, but I Love TV is Kim Dorland&rsquo\;s first solo exhibition of new work in Toronto since the milestone success of You Are Here: Kim Dorland a nd the Return of Painting\, at the McMichael Canadian Art Collection in Kle inburg\, Ontario (October 2013 to January 2014). That exhibition\, in which his paintings\, many created during a residency at the McMichael\, were sh own alongside those of iconic Canadian landscape painters such as Tom Thoms on\, David Milne\, Emily Carr and members of the Group of Seven\, was cover ed in a national story in Macleans and subsequently lauded in reviews by th e Toronto Star and the Globe andMail. In addition\, in December\, the Globe and Mail named Kim Dorland 2013 Artist of the Year. In Spring 2013\, Canad ian Art ran a feature profile on Dorland and\, in Winter 2014\, Border Cros sings published an in-depth interview with the artist by Robert Enright. Ki m Dorland: Homecoming\, an early-career survey mounted in his native Albert a\, opens at Contemporary Calgary on October 16 and runs through January 18 \, 2015. On October 3\, Kim Dorland\, an 184-page monograph is available fr om Figure 1 Publishing\, with an introduction by Jeffrey Spalding\, artisti c director and chief curator of Contemporary Calgary\, an essay by Katerina Atanassova\, chief curator of the McMichael Canadian Art Collection\, and an expanded\, updated version of Robert Enright&rsquo\;s interview. Interna tionally\, Dorland&rsquo\;s art is on view this fall in Peahead\, a group e xhibition at Franklin Parrasch Gallery\, New York\, which runs until Octobe r 11. In 2015\, he will be given in a solo exhibition at MCA Denver\, Color ado.

Kim Dorland was born in Wainwright\, Alberta in 1974. Dorla nd received his BFA from the Emily Carr Institute of Art and Design\, Vanco uver\, and received his MFA from York University\, Toronto. He has exhibite d globally\, including shows in Milan\, New York\, Chicago and Los Angeles\ , receiving reviews in the New York Times and the Los Angeles Times. Dorlan d&rsquo\;s art is in numerous prestigious public and private collections in Canada and abroad\, including the Bank of Montreal\; Beth Rudin DeWoody Co llection\; Blanton Museum of Art at the University of Texas\, Austin\; Eile en S. Kaminsky Family Foundation\, New York\; Glenbow Museum\, Calgary\; Mo ntreal Museum of Fine Arts\; Musé\;e d&rsquo\;art contemporain\, Mont ré\;al\; Neumann Family Collection\, New York\; Oppenheimer Collectio n\, Nerman Museum of Contemporary Art\, Kansas City\, Kansas\; Royal Bank o f Canada\; and Sander Collection\, Berlin. Dorland works in Toronto\, where he lives with his wife Lori and their two sons\, Seymour and Thomson.

DTEND:20141108 DTSTAMP:20140923T163542 DTSTART:20141003 GEO:43.6445305;-79.4190129 LOCATION:Angell Gallery\,12 Ossington Avenue \nToronto\, Ontario M6J 2Y7 SEQUENCE:0 SUMMARY:I Hate Poetry but I Love TV\, Kim Dorland UID:356981 END:VEVENT BEGIN:VEVENT DTEND:20141003T210000 DTSTAMP:20140923T163542 DTSTART:20141003T180000 GEO:43.6445305;-79.4190129 LOCATION:Angell Gallery\,12 Ossington Avenue \nToronto\, Ontario M6J 2Y7 SEQUENCE:0 SUMMARY:I Hate Poetry but I Love TV\, Kim Dorland UID:356982 END:VEVENT END:VCALENDAR